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PREPARATORY COURSE OF 
DRAWING FOR THE USE OF 
PUBLIC SCHOLS <!* ^ ^ S S 

BY FRANCES WESTFALL * 

Chicago: 


A. FLANAGAN, PUBLISHER 




















LIBRARY OF CONGRESS. 

Chap.._Copyright No.,_ 

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THE 


Graded Drawing System 

FIRST BOOK. 

Preparatory Course of Drawing 

FOR THE USE OF PUBLIC SCHOOLS 


/ 

FRANCES WESTFALL 


I 





Chicago! 

A. FLANAGAN, Publisher 




K 



Copyright, 1894, 

BY 

Frances Westfall. 

n_-4ob r n 



PREFACE. 


The art of expressing ideas by means of drawing is a 
power of great value and usefulness. We learn many things 
by observation, but how much more could be accomplished 
if we were taught to observe correctly and express our 
impressions upon paper by drawing. 

In response to the demand for such work in schools this 
“First Book” of “The Graded Drawing System,” was 
planned and published. 

Its purpose is to create a tendency toward close obser¬ 
vation; to give a knowledge of drawing; to help teachers to 
develope useful, busy work; to aid in the study of mathe¬ 
matics and writing, and to prepare pupils for any higher 
work in drawing. 









Part 1. 


CONTENTS. 

IvESSON. PAGE. 

I. On Lines. 7 

II. The Square. 10 

III. The Circular Drill. 12 

IV. The Form of Study and Representation. 12 

V. Comparison of the Square and Circle. 14 

VI. The Circle. 15 

VII. Measuring. 18 

VIII. Fore-Shortening. 20 

IX. Blocking.. 21 

X. Leaves. 22 

XI. Study of the Cube. 25 

XII. Comparison of the Cube and Sphere. 28 

XIII. Study of the Sphere. 28 

XIV. Paper Folding, Cutting aud Pasting. 29 

XV. How to Model a Sphere from Clay. 32 

XVI. How to Draw a Cube Below the Eye with One 

Face Toward the Observer. 34 

XVII. How to Draw a Cube Below the Eye with One 

Corner Toward the Observer. 36 

XVIII. Perspective. 39 

XIX. Oval, Ovoid, etc. 43 

XX. The Paper Pattern Cube. 45 

XXI. The Circle as to Fore-Shortening. 46 

XXII. Proportion. 49 

XXIII. Light and Shade. 52 

XXIV. A Study of the Light and Shade of the Cube. 53 

XXV. A Study of the Light and Shade of the Sphere. 57 

























LESSON. PAGE. 

XXVI. A Few Suggestions in Drawing. 58 

XXVII. Branches of Leaves. 61 

XXVIII. Study of the Plane Triangle. 62 

XXIX. The Cylinder. 63 

XXX. Perspective. 65 

XXXI. A Drill Exercise. 67 

XXXII. A Book and a Sphere. 67 

XXXIII. Perspective. 68 

XXXIV. The Rectangular Solid. 71 

XXXV. A Book, Box or Some Similar Object. • • .. 72 

XXXVI. A Cup. 72 

XXXVII. A Study of the Cone. 74 

XXXVIII. A Study of the Equi-lateral Triangular 

Prism. 75 

XXXIX. Perspective. 80 

XL. The Cube. 82 

XLI. Perspective. 83 

XLII. Grouping. 85 

XLIII. Two Books. 88 



















GENERAL INSTRUCTIONS. 


The subject of drawing, pure and simple, should 
be considered in the same educational light as other 
branches of learning. 

This weary working over little blocks and cones 
and pyramids, this rendering of still life, is only 
a means to a great end. Drawing blocks is our 
beginning, but what are the drawings of tables, 
chairs, houses, etc., but so many enlarged and 
elaborated blocks ? Could we represent, correctly, 
the drawing of a jar or vase without first having 
studied the ellipses of the plain cylinder, etc.? 
Therefore let us master the small things first. 

Do not hurry in your drawing; neither be too 
slow, as slowness may make your drawing look 
heavy and stiff. 

Do everything neatly and with precision. 

MATERIALS FOR DRAWING. 

A soft lead pencil; colored pencils; drill paper; 
drawing paper; blocks or models belonging to this 
system; colored paper for cutting and pasting; an 
eraser. 

USE OF MATERIALS. 

Do not sharpen your pencil to a fine point, but 
leave it round so that it will make a soft, grey line. 


Do not use an eraser until your drawings are 
completed. 

POSITION. 

Sit erect with both feet on the floor and the body 
slightly forward. Your drawing book or paper 
should lie straight across your table from left to 
right. 

Hold your hand in the positions given on Plate I. 
Hold your pencil loosely. You should be about 
six or ten feet from the object to be drawn or 
measured, unless other distances are suggested in 
the lesson under consideration. Sit a little to the 
left side of your table. 

MOVEMENTS. 

The free arm movement in drawing is of the 
whole arm and hand, the action being from the 
shoulder. 

The free arm circular movement is the motion 
of the hand and arm round and round, the action 
being from the shoulder. 

Draw, then criticise, and draw again the same 
object in the same position, and note the improve¬ 
ment. 

Never use a ruler, as everything should be done 
free hand. 

Do not use measures; allow your mind free 
action in this as in every other part. 


THE GRADED DRAWING SYSTEM. 


LESSON I. 
On Links. 


What is a line ? 

A line is that which has length but neither 
breadth nor thickness. 

What is a straight line ? 

A straight line is a line which has the same 
direction throughout, or it is the shortest distance 
between two points. 

May a line slant and still be straight ? 

Yes. It would then be called an oblique line 
but it would be straight. 

What is a curved line ? 

A line no portion of which, however short, is 
straight, or one that changes direction at every 

point. 

What is a right curve ? 

A line that curves to the right. 

What is a left curve ? 

A line that curves to the left. 

What is a vertical line ? 

A line that is exactly upright, or one that is at 
right angles to the plane of the horizon. 


8 


The Graded Drawing System . 


What is a horizontal line ? 

A line that is parallel with the horizon. 

What is an oblique line ? 

A slanting line. 

Drill Exercise. 

HORIZONTAL LINES. 

Make two points on your drill paper directly 
opposite each other horizontally, about five or six 
inches apart. Connect these noints, drawing from 
left to right. 


Practice this exercise several times, then draw 
lines without using the points. 

Always draw horizontal lines from left to right. 

Use the correct position of the hand for drawing 
horizontal lines given on Plate I. 

VERTICAL LINES. 

Make two points on your drill paper, one 
directly beneath the other, about five or six 
inches apart. Draw from the top to the 
bottom one. 

Practice this several times, then draw 
vertical lines without using the points. 




The Graded Drawing System. 


9 


Draw vertical or oblique lines from top to bottom. 

Have the correct position of the hand for draw¬ 
ing vertical or oblique lines given on Plate I. 

Also practice drawing horizontal and vertical 
lines alternately. 

In drawing oblique lines make the points in 
the proper position to indicate the correct slant. 
Remember to draw them from top to bottom. 

When are two or more lines said to be parallel ? 

When they have the same direction throughout 
their entire length. 


What is an angle ? 

The space between two lines diverging from a 
common point is called an angle. 









10 


The Graded Drawing System . 


LESSON II. 

The Square. 

What do you mean by the face of a square ? 

The flat surface. 

How many faces has a square ? 

Two. 

How many edges ? 

Four. 

How many corners ? 

Four.. 

Hold the square in front of you at arm’s length 
on a level with your eye, with one face vertically 
towards you. What do you see? 

The face of the square. 

How does it look ? 

Square. 

What would the drawing of this view be ? 

A square. 

Hold the square wflth one edge towards you at 
arm’s length in front of you on a level with your 
eye. What do you see ? 

An edge. 

What would the drawing of this view be ? 

A line as long as the edge of the square appears 
to be. 


The Graded Drawing System. 11 

Should the drawing be a vertical or a horizontal 
line? 

That depends upon the position of the square. If 
the square is held vertically, the drawing should be a 
vertical line; but if the edge under consideration is 
horizontal, the drawing should be a horizontal line. 

HOW TO DRAW A SQUARE. 

Practice drawing vertical and horizontal lines a 
short time before beginning to draw a square. 

Draw a vertical line of the proper length to 
represent one vertical edge of your square; draw 
another vertical line as far to the right of the first 
as the first line is long, of the 
same length and exactly opposite 
to and parallel with the first. 

Thus you have made the two 
vertical edges of a square. Com¬ 
plete the square by connecting the 
tops, then the bottoms of the ver¬ 
tical lines by horizontal lines. 

In drawing a square, lines representing parallel 
edges are, for convenience, drawn in succession 
without changing the position of the hand. For 
example: If a line is drawn to represent the left 
vertical edge, while the hand is still in the correct 
position for drawing vertical lines it is more con- 




12 The Graded Drawing System . 

venient to draw the line representing the right 
vertical edge than to change the position of the 
hand and draw one horizontal edge, then change 
back to the former position and draw the other 
vertical edge. 

In representing the vertical edges of the square 
the left vertical edge should be drawn first. Thus, 
in comparing the length and direction of the lines 
for these two edges the hand will not cover the first 
line drawn. For the same reason draw the line to 
represent the top horizontal edge first when draw¬ 
ing the horizontal edges. 

Draw five views of a square as in Fig. 1. 


Fig. l. 


LESSON III. 

The Circular Drill. 

Practice this round or circular drill by making 
continuous circles, starting from a point and draw¬ 
ing toward the left in an upward curve, proceeding 









The Graded Drawing System . 


13 


in a circular direction throughout the entire drill. 

Use the free arm 
circular move¬ 
ment and keep 
the pencil point¬ 
ed to the left and 
the hand in the 
position for draw¬ 
ing circles, as 
given on Plate I. 

Practice this 
drill until you 

can use the free arm circular movement with ease. 
Remember that by free arm movement is meant 
the movement of the whole arm from the shoulder. 



LESSON IV. 

The Form of Study and Representation. 

We shall now begin the study of objects in two 
ways, by touch and by sight. 

By touch , as grasping, handling, moving, and 
placing objects on the table. 

By sight, as by observing the appearance of ob¬ 
jects in different positions. 






14 


The Graded Drawing System . 


ORDER OF STUDY. 

I. Comparison of objects as a whole; as their 
proportions and how they feel. 

II. Comparison of objects as to surface; as 
round, rounding, plane, or curved. 

III. Comparison of objects as to edges; as stiff 
or sharp, and soft or broad, straight or curved. 

IV. Comparison of objects as to corners; as 
square, sharp, or blunt. 

V. Comparison of objects as to how they move 
and look . 

WAYS OF EXPRESSING OR REPRESENTING OBJECTS. 

I. By making; as in clay modeling, paper cut¬ 
ting and pasting, and stick laying. 

II. By drawing with the free arm movement. 
You should carefully study this outline in order 

to comprehend the purpose of each step. 


LESSON V. 

Comparison of the Square and Circle. 

Compare the square and circle according to the 
rules for comparison of objects in the “Order 
of Study.” 



The Graded Drawing System. 15 

The following is given as an aid in your com¬ 
parison of different objects: 

Take the square in one hand and the circle in 
the other, closing each hand as nearly as possible. 
Do their proportions seem about the same ? Give 
the name of the one in your right hand; also, in 
your left hand. 

Compare in your mind their resemblance as to 
feeling; their size as to feeling; their surfaces as 
to feeling (being plane, their surfaces will feel 
smooth); the edges as to feeling . Have either 
of them corners? 

Will they move if placed upon their flat surfaces 
on your table ? 

They will slide if they are pushed. 

In comparing different objects you should study 
them in this way, using the “Order of Study” as 
a guide. Draw a square. 


LESSON VI. 

The Circle. 

Hold the circle in front of you at arm’s length, 
on a level with your eye, with the flat surface 
toward you. What do you see ? 

A circle. 



16 The Graded Drawing System . 

What would the drawing of this view be ? 

A circle. 

Draw this view. 

Hold the circle in front of you at arm’s length, 
on a level with your eye, with one edge toward 
you. What do you see ? 

An edge. 

What should the drawing of this view be ? 

A straight line. 

Draw this view. 

Should it be a vertical or a horizontal line ? 

That depends upon the position of the circle. If 
you hold it vertically, the drawing should be a 
vertical line; but if you hold it horizontally, the 
drawing should be a horizontal line. 

What is the line that bounds the circle called ? 

The circumference. 

Draw a line with school crayon through the 
center of your circle, terminating at opposite sides. 
What is this line called ? 

A diameter. 

What is a semi-circle ? 

It is the half of a circle. 

HOW TO DRAW A SEMI-CIRCLE. 

Make points on your paper to indicate the 
dimensions of a semi-circle as in Fig. 1. Make 
the top one first. Points should be small. 


The Graded Drawing System . 17 

Begin at the bottom one and draw, with the 
free arm movement, a semi-cir¬ 
cle passing through the point 
to the left and ending at the 
top one. Keep the pencil and 
hand in the correct position for 
drawing circles. As a good 
drill, trace each semi-circle, that 
yon draw, several times. 

Fig. l. 

HOW TO DRAW A CIRCLE. 

Make points to indicate the size of a circle as 
yon did in drawing the semi-circle. Fig. 2. 

Start toward the left from the lower one and 
draw, with the free arm 
movement, a circle passing 
through the points just 
made. Have the correct pos¬ 
ition for the pencil and hand. 

If there is a tendency to 
make the circle pointed, 
practice drawing the semi¬ 
circle and also the circular 
drill until this is partially overcome. 

Make several circles with the use of the points, 
then draw some without using the points. Re¬ 
member to draw, then criticise, and draw again. 




18 


The Graded Drawing System . 


Use light lines, and, after you criticise your draw¬ 
ing, strengthen the correct lines and erase the 
incorrect ones. 


LESSON VII. 

Measuring. 

Fasten a piece of paper, of about 24x30 inches 
in dimensions, upon the wall, with the center near 
the level with your eyes. Draw a long horizontal 
line on this paper; now draw, on this same paper, 
a vertical line two or three times longer than the 
horizontal one. 

Compare the length of 
these lines as follows: 
Stand back five or six 
feet from the paper that 
is fastened upon the wall. 
Take your pencil lightly 
in your fingers, putting 
your thumb and little fin¬ 
ger under the pencil and 
pressing it up against the 
other three fingers, as in 
Fig 1. Hold your arm 
at full length, the slightest bend in your elbow will 
make a difference in the measurement . Close one 
















PLATE I. 





















19 


The Graded Drawing System . 

eye and hold the pencil with the point opposite 
the left end of the horizontal line, then run your 
thumb along the pencil until it is opposite the 
right end of the line, still keeping the point of the 
pencil opposite the left end . Retain this measure 
until you have applied it, as many times as it will 
apply, to the vertical line. 

In applying this measure to the vertical line 
keep your hand 
in the same po¬ 
sition as when 
measuring the 
horizontal one, 
only turn your 
hand over, so 
that the pencil 
will be vertical 
instead of hori¬ 
zontal. Fig. 2. 

All vertical lines and objects are measured with 
the hand in this position. 

Do not drop your hand after finding the measure 
of the horizontal line until you have applied it to 
the vertical line if you can possibly avoid it. 

You have thus, in this lesson, campared the 
length of these two lines. Compare the measure¬ 
ments of different objects in this way, as windows, 
doors, chairs, tables, etc. 













20 The Graded Drawing System . 

Always hold the arm at full length when meas¬ 
uring by this method. 

THE PLUMB LINE. 

A plumb line is any string with a weight at¬ 
tached to one end of it. This is sometimes used 
in locating different objects and different parts of 
the same object. 

A point directly beneath any part in an object 
may be found in this way. 

A plumb line gives an absolutely vertical line. 
The direction of lines to represent edges of objects 
extending from you may be found by holding your 
pencil so that it coincides with the edge you are 
representing, the position of your pencil will indi¬ 
cate the direction of the line. 


LESSON VIII. 

Fore-Shortening. 

What is fore-shortening ? 

Fore-shortening is the apparent decrease in the 
size of an object from front to hack. 

Place a leaf in a vertical position on your table 
and examine carefully, by comparing the height 
(or length) and width by measuring at arm’s length. 
You should be about six or ten feet from your leaf. 



The Graded Drawing System . 


21 


Now lay the leaf upon your table with one side 
or one end toward you. Move back about the 
same distance as before and compare the dimen¬ 
sions of your leaf in this position. Notice the 
difference in the measurements of the two different 
positions of the leaf. This is due to what we call 
fore-shortening. 

Study fore-shortening by comparing the square, 
the circle, or any object in these two positions. 


LESSON IX. 

Blocking. 


To “block in” the general outline of an object 
is to draw the general directions of the outlines. 



The drawing is then finished by filling in and 
rounding out this “blocking” until it represents all 









22 


The Graded Drawing System . 

the curves and angles in the object itself. Fig. 1 
shows the blocking of a leaf, Fig. 2 shows the 
same blocking of the same leaf filled out, and 
Fig. 3 represents the same leaf after the blocking 
lines are erased. 

Do not “block in” laboriously. Indicate simply 
the main height and width of the object and the 
directions of the strongest lines by a few straight 
vigorous strokes. When blocking-in lines are 
used feebly the value of the work, the strength 
and the simplicity, is entirely lost. 

Block in your drawings, then finish them and 
erase the blocking lines. Do not use an eraser 
until your drawing is completed. 

Drill often in fore-shortening, but do not try to 
teach it to primary pupils; just tell them that such 
a thing is true. 

Have the pupils block in the outline wherever 
it is possible. 


LESSON X. 

Leaves. 

In selecting leaves to draw choose large, simple 
ones, avoiding those having indented margins. 
Lilac, plantain, morning glory, sunflower, etc., are 



23 


The Graded Drawing System . 

good examples. Do not use pressed autumn 
leaves, your work from nature should aim at life, 
color and beauty. 

STUDY OF A DEAF. 

Hold your leaf vertically in front of you at 
arm’s length, on a level with your eye. How 
long does it look compared to the width ? 

What color is it ? Is it the same shade of color 
on both sides ? 

Is the edge regular or irregular ? By a regular 
edge is meant one which is not indented. A grape 
leaf has an irregular edge. 

Hold the leaf between you and the light. Does 
it look darker or lighter than before ? 

The edge of a leaf cut from paper would be 
stiff and sharp, but notice the soft pliable edge 
of your natural leaf; hence, represent this edge in 
a drawing by a soft, grey line. Draw outline be¬ 
fore giving study of veins. 

Particular attention should be given to the veins 
of leaves. Hold your leaf vertically in front of 
you at arm’s length, on a level with your eye. 
Are the veins heaviest near the edge or the center 
of the leaf? At that distance can you see them 
at the edge ? 

Is there a center vein to which all of the other 
veins join, or do they extend to the stem or to a 


24 


The Graded Drawing System . 


point just above the stem? In leaves where the 
veins join to a center vein does one from each side 
connect with this vein at the same place? Notice 
this particularly. 

Lay your leaf on your table with the stem 
toward you. Place the index finger of each hand 



together at the tip of the leaf and trace the outline 
by passing one finger along on each edge of 
the leaf and down the stem. Do this until you 
have the general outline well fixed in your mind, 
then draw this position of the leaf. First deter¬ 
mine the proportions and suggest them by block¬ 
ing in the outline lightly. Notice carefully the 







25 


The Graded Drawing System . 


fore-shortening. Fill in and round out this block¬ 
ing until your drawing is a good representation 
of all of the curves and angles of the leaf, then 
erase the incorrect and blocking lines. 



Draw the veins and where one vein joins another 
allow the pencil to trace the one to which the other 
one joins a short distance, as in Fig. 3, Lesson IX. 
Represent the stem by two lines. 


LESSON XI. 

Study of the Cube. 

What is meant by the faces of a cube ? 
The flat surfaces which bound the cube. 






26 


The Graded Drawing System . 


How many faces has a cube ? 

Six. 

How many vertical faces ? 

Four. 

How many horizontal faces ? 

Two. 

What is the shape of each face ? 

Square. 

How many edges has a cube ? 

Twelve. 

How many corners ? 

Eight. 

Hold the cube in front of you at arm’s length, 
on a level with your eye, with one face toward you. 
How many faces do you see ? 

One. 

How does it look ? 

Square. 

Place the cube on a table with one corner toward 
you. How many faces do you see ? 

Three; the top, right, and left faces. 

Does each one look square ? If you are in doubt 
as to whether or not they appear square compare 
the length and width by measuring at arm’s 
length. 

Look directly down upon the cube. How many 
faces do you see? 

One. 


The Graded Drawing System . 27 

Which face do you see ? 

The top face. 

How does it look ? 

Square. 

Would the drawing of this top face be the same 
as the one for a side face ? 

Yes; each would be a square if you were look¬ 
ing directly at the face of the cube which you were 
representing in your drawing. 

Should you draw four views of a cube, as front 
view, right view, left view, top view, etc., would 
any of the drawings be alike ? 

Yes; each drawing would be a square. 

Draw the four views as in Fig. 1. 


Fig. l. 








28 


The Graded Drawing System. 


LESSON XII. 

Comparison ok the Cube and Sphere. 

Compare the cube and sphere as you did the 
square and circle following the “Order of Study” 
in Lesson IV. 


LESSON XIII. 

Study of the Sphere. 

Hold the sphere in front of you at arm’s length, 
on a level with your eye. What do you see ? 

A curved surface, bounded by a curved line. 

What would the drawing of this view be ? 

A circle. 

Turn the sphere around, still holding it in front 
of you at arm’s length, on a level with your eye; 
what is this view ? 

A curved surface, bounded by a curved line. 

What would the drawing of this view be ? 

A circle. 

Place the sphere on your table and look down 
upon it; what is this view ? 

A circle. 



29 


The Graded Drawing System . 

Is the drawing of all views of a sphere a circle ? 

Yes. 

Draw four views of a sphere. 

What is the differ¬ 
ence between a sphere 
and a circle ? 

A sphere has width, 
depth, and thickness ; a 
circle has only width; 
or, a sphere is a solid 
and a circle is a plane. 

Draw a sphere as in 
Fig. 1, using the solid 
which you have as a 
model. Think of some objects which are similar 
to a sphere, as apple, turnip, pumpkin, etc. 



LESSON XIV. 

Paper Folding, Cutting and Pasting. 

On a small, square piece of practice paper draw 
a vertical line about one inch long. Fold your 
paper along this line, then on one side draw a 
semi-circle, drawing from the lower to the upper 
end of the line just drawn. Correct your drawing 
until you have made it as nearly perfect as possible, 



30 


The Graded Drawing System . 

then cut around the circular edge of your semi¬ 
circle, having your paper still folded. You will, 
of course, have a “double” semi-circle; unfold it, 
and it will be a circle. It is easier to draw and 
cut a good pattern circle in this way than to draw 
the whole circle. 

Transfer this pattern circle to colored paper by 
placing it on the wrong side of the colored paper 
and tracing lightly, with a pencil, around the edge 
of the circle, on the colored paper. Cut this circle, 



Fig. i. 

which you have just traced, from the colored paper 
and paste in your drawing book, on a small, white 
card, or anything on which you desire to paste it. 

Circles pasted in a straight horizontal row across 
a page, having a space of about one-fifth the width 
of the circles between them and a narrow strip of 
the colored paper on each side, the same distance 
from the circles as the circles are apart, makes a 
very pretty border. Paste in the centres of the 
circles only. 






The Graded Drawing System . 


31 


The strips which are pasted on either side should 
be about the same width as the space between the 
circles; they should also extend across the ends so 
as to complete the border. 



which will give you an idea of how to combine 
the drawings of objects we have had in previous 
lessons. 

Clay Modeling. 

GENERAL INSTRUCTIONS ABOUT CLAY. 

Clay may be secured from any potter. It will 
be dry and hard, but may be converted into a 
suitable state for use, as follows: 

Reduce it to as nearly a powder as possible by 
pounding it, then put it into a two-or-three-gallon 
jar, or some similar vessel, and cover it with water. 
Let it stand thus over night, or a day or more; 
it will absorb most of the water. 






32 The Graded Drawing System . 

Take from near the bottom of the jar that clay 
which is of the consistency of dough—it should 
not be stiff—and knead or work it with your 
hands until it becomes very smooth. This is now 
ready for use. 

You should have a medium sized, smooth board, 
or a large piece of stiff paper on which to work. 

After you have used the clay you can put it 
back into the water for use again. 

The purpose of clay modeling is to develop a 
knowledge of the forms of objects. 


LESSON XV. 

How to Model a Sphere from Clay. 

Always have the object itself as a model. 

Take a small piece of clay, which you have 
prepared according to the instructions about clay, 
in the palm of your left hand; then roll and press 
it with the palm and fingers of the right hand 
until you have made a good sphere. Use the 
fingers in clay modeling wherever it is possible. 

Cut the sphere, which you have just made, 
through the centre with a thread and the result 
will be two hemispheres. A slice cut from the 
flat side of one of the hemispheres will be a circle. 



33 


The Graded Drawing System . 

There are a number of objects that are similar 
to a sphere which may be represented in clay, as 
a tea-kettle, apple, round basket, etc. 

A tea-kettle is made of clay by flattening two 
opposite sides of a sphere, then with some pointed 
object, as a pencil or stick, make a small circle 
around the top for the lid and put a small circular 
piece of clay in the centre of the lid. Make a 
spout of clay, the size it should be according to 
the proportions of your tea-kettle which your have 
for your model, and put it on your clay kettle in 
the proper place. Make a handle the same way 
and put it on where it should be according to your 
model. Notice particularly its position and pro¬ 
portions. 

An apple or basket is made according to the 
same principles—that is, by flattening the sphere 
where it should be, and adding those parts to be 
added. 

From the hemisphere may be made a toad-stool t 
a bowl, cap, etc. 

A cube is modeled by making a sphere, then 
flattening six opposite sides. 


34 


The Graded Drawing System . 


LESSON XVI. 

How to Draw a Cube Below the Eye with 
One Face Toward the Observer. 

Place tlie cube on your table in such a position 
that you can see only one vertical face and the top. 

Determine the size of the vertical face of the 
cube and draw it. Next find by actual measure¬ 
ment at arm’s length, how wide the top is from 
front to back compared to the width of the vertical 
face. Remember the result of this measurement 
until you have compared the length of the front and 
back horizontal edges of the top face of the cube. 

I find from my posi¬ 
tion that the back edge 
of the cube which I am 
representing appears 
about one-fifth shorter 
than the front edge. So 
I draw the horizontal 
line to represent the 
back edge accordingly, 
leaving off half of the 
fifth from each end. 

Draw lines from the 
front corners of the top 
of the cube to the ends of the line for the back 





The Graded Drawing System . 35 

edge and thus complete the drawing of a cube 
as in Fig. 1. 

Notice that the lines last drawn converge some, 
that is, come nearer together as they recede; this 
is explained later. - 

Rectangular objects, 
such as books, boxes, etc., 
in this position may be 
drawn in the same man¬ 
ner. 

You have thus drawn 
the appearance of the 

cube in this position, you _ 

may now draw the facts _ 

of the same cube in the 
same position as in Fig. 2. 

By the appearance of 
any part or parts of an 
object is meant the way 
in which the observer 
sees that position of the 
object. By the facts of 

an object is meant that -- 

which the observer knows to exist. Hence the 
necessity of the rule, “ Draw what you see, and 
not what you know to exist,” becomes very obvious 
as we represent the appearance and facts of the cube 
in the same position. 





36 


The Graded Drawing System . 


In the position in which 3 'ou have just repre¬ 
sented the cube, what do you know the vertical 
face to be ? 

A square. 

What would the drawing of the facts of this 
face be? 

A square. 

What do you know the top face of this cube 
to be? 

A square. 

What would the drawing of the facts of this 
top face be? 

A square. 

Thus in Fig. 2 we have a drawing of the facts 
of a cube below the eye with one face toward the 
observer. Draw the facts of your cube in the 
same position in which you have just drawn the 
appearance. 


LESSON XVII. 

How to Draw a Cube Below the Eye with 
One Corner Toward the Observer, 
as in Fig. 1. 

Draw a long horizontal line on your table with 
school crayon; then place the cube with one ver¬ 
tical edge toward you so that the lower front corner 
will touch the horizontal line. Mark this point A. 



The Graded Drawing System . 37 

Make a point on the horizontal line directly oppo¬ 
site the lower back right corner; also one directly 
opposite the lower back left corner of the cube. 
Letter these B and C, making these letters on your 
table. Draw a line on your table from the lower 
right corner of the cube to B , and one from the lower 
left corner to C. The upper extremities of these 
lines, or the place where the lower back corners 
of the cube touch the table, we shall mark D and E. 



pond with the one on your table and make a point 
on this line to represent A. Draw a vertical line 
to this point A , as long as it should be, to represent 
the height of your cube; this vertical line is, then, 
a drawing of the front vertical edge of the cube. 
Now compare, by measuring at arm’s length, the 
distance between A and B on your table with the 






38 The Graded Drawing System . 

height of the front edge of the cube and make 
the point B on your paper accordingly. Compare 
the distance from D to B on your table with the 
length of this same edge of the cube and make, 
on your paper, the point D to correspond with the 
same point on the table. Draw from A to D . In 
the same manner find the points C and E on your 
paper by comparing the distance from A to C and 
from C to E on your table with the front vertical 
edge of the cube, then draw from A to E. From the 
top of your vertical line draw lines parallel with 
and the length of the lines AD and AE , allowing 
them to converge slightly. Draw the vertical 
lines connecting the extremities of these lines with 
D and E , then from the top of the left vertical 
line draw a line parallel with AD , converging 
some; also from the top of the right vertical line 
draw a line parallel with AE , converging slightly. 
The point where the lines just drawn meet will be 
the back corner of the top of the cube. 

The drawing of this view of the cube is difficult 
and is only made possible by practice. Boxes, 
books, and all objects of this sort can be drawn in 
the same manner as the cube. 

The horizontal line is used only as an aid in 
finding the relative position of the lower back 
corners of the cube which you see determines the 
slant of the base lines. 


The Graded Drawing System . 


39 


LESSON XVIII. 

Perspective. 

All objects or parts of objects to be represented 
in a drawing by parallel lines which may be in 
sight from the observer’s position, seem to con¬ 
verge toward a point that is exactly in front of his 
eye, when he looks in the direction he knows to 
be that in which the objects or parts of objects 
extend. The place where these lines seem to come 
to a point is always on the horizon. 

What is the horizon? 

It is the apparent j unction of the earth and sky. 
This is well illustrated on the sea or on any plane 
where the horizon is clearly discernible. 

Where is the horizon ? 

It is on a level with the eye quite a distance in 
front of the observer. The earth being round, the 
surface gradually reaches a level with the eye, thus 
forming the horizon. 

Notice in a road, a street, a railroad, or anything 
similar to these, the parallel tracks or rails, etc., 
seem to come to a point at a great distance from 
you. The place where they apparently come to a 
point is always on the horizon line opposite the 
observer’s eye. But we all know that these tracks 
or rails as they go away from us are parallel; that 


40 The Graded Drawing System. 

they will be no nearer each other a mile away 
if we walk along them that far than they are at 
our feet here. 

If we make a drawing of them then on our 
paper exactly parallel, this will be drawing them 
as we know them to be. But this drawing will not 
look in the least as those tracks or rails do, as we 
stand and watch them going far off across the 
country. As they go away from us the sides of 
the track appear to get nearer together as the track 
goes farther away, until if we can see so far we can 
almost believe they come to a point of meeting in 
the distance. Now if we draw them thus, we shall 
draw them as we see them and not as we know 
them to be. 

If we stand upon a plain where our view is not 
obstructed by trees, houses, or any object, and 
follow the lines of track out as far as we can, we 
shall find they seem to meet at a point where the 
earth and sky appear also to meet. This line, as 
we have observed, between the earth and sky, or 
sea and sky, is called the horizon, and where we 
hear the expression “a horizontal line” we will 
know that it means a line running straight across 
our view, just as the horizon does. 

As we stand on the plain and look at the horizon 
we will find by holding a pencil up horizontally 
across our eyes that it just shuts off the view of 


41 


The Graded Drawing System . 

the horizon. So we may say that the horizon is 
on a level with our eyes. 

Is this true at whatever height we are placed ? 

Step upon a ladder and again hold the pencil 
across your eyes; will the horizon again be out of 
sight behind it, or will it be below ? Or, by sitting 
down, or stepping into a lower place than your 
first position, from which you could still see the 
horizon, would it again be hidden by the pencil 
held before your eyes ? 

Hence we see that the horizon is not a stationary 
line, in fact, it is not a real line at all, though so 
called for convenience, but is simply a term used 
to express the limit of distance upon the earth’s 
surface which your eyes can see. 

If we are low down we can see less of the 
earth’s surface; if high up we can see more; the 
horizon line is therefore exactly opposite the 
observer’s eyes wherever he stands, and conse¬ 
quently is not the same to any two persons unless 
their eyes happen to be exactly the same height 
from the earth. 

Therefore we can never be at a loss to know 
where such a horizon would be; at whatever 
height we are placed the horizon would always 
appear at just the height of our eyes. 

If your eyes are four feet above the ground and 
a horizontal line were drawn to represent where 


42 


The Graded Drawing System . 


you are standing and one to represent the level 
of your eyes, the line last drawn would be called 
the horizon line. 

Let one-half inch represent one foot. Now 
draw these horizontal lines two inches apart; thus 
you will indicate a space of four feet between 
them. Suppose two people were standing, one on 
each side of you, one foot from you. Make three 



Fig. 1. Fig. 2. 


points, one-half inch apart, on the bottom line, the 
centre one to represent your position, the others to 
indicate the position of the other two people, and 
one point on the horizon line just opposite the 
centre point on the bottom line. This is called 
the centre of vision. Should these people go from 
you toward the horizon, if they keep their relative 





The Graded Drawing System . 43 

position throughout, when they reach a place on 
a level with your eye they would appear as one 
object. Thus the point which you made on your 
horizon line would represent the place where they 
would seem to become one object or vanish, as well 
as the centre of vision. 

So we see that the centre of vision is the vanish¬ 
ing point when there is only one vanishing point 
in the picture. Draw lines from the two points 
made to indicate the position of these two people 
to the centre of vision on your horizon line as 
in Fig. 1. 

Practice drawing railroads in the same manner. 
Notice the ends of the ties of a railroad seem to 
extend in a direction parallel with the rails and 
they also become dimmer as they recede, until they 
finally vanish from sight. 


LESSON XIX. 

Oval, Ovoid, Etc. 

An oval is oblong and curvilinear, with both 
ends of about the same breadth. 

The difference between an oval and an ovoid is 



44 The Graded Drawing System . 

—the oval is a plane surface, while an ovoid is 
a solid. 

An egg is ovoidal in 
shape. 

The same difference ex¬ 
ists between the ellipse and 
ellipsoid; also, the circle 
and the sphere. 

Fig. 2 is the drawing 
of a plum, which yon will 
find is the shape of an 
ellipsoid. 

Draw a plum and an 




Fig. 2. 




The Graded Drawing System . 45 

LESSON XX. 

The Paper Pattern Cube. 

Given one face of a cube, Fig. 1. Add to 
this drawings of the other 
faces, as though all of the 
faces of the cube were un¬ 
folded and spread out on 
a plane surface and the 
result will be a pattern of 
a paper cube, Fig. 2. Fig. 

3 is a pattern cube with 

laps; make this pattern on fig. i. 



Fig. 2. 












46 The Graded Drawing System . 

stiff paper, cut it' out, fold and paste so as to 



make a hollow cube. 


LESSON XXI. 

The Circle as to Fore-Shortening. 

Place the circle resting upon one flat surface 
on your table and look down upon it. What do 
you see? 

A circle. 



















The Graded Drawing System . 


47 


What should the drawing of this view be ? 

A circle. 

In this view would all of the diameters of the 
circle be of the same length ? 

Yes. 

Move back three or four feet from your table, 
leaving your circle in the same position as before. 
Compare by measuring at arm’s length the width 
of the circle from front to back with the hori¬ 
zontal width. First find the measure of the width 
of the circle from front to back by holding your 
pencil vertically at arm’s length with the point 
opposite the center of the back edge of the circle; 
place your thumb on the pencil opposite the center 
of the front edge of the circle. Apply this meas¬ 
ure to the horizontal width. Are the two measures 
you have just compared the same? 

No; the horizontal 
width is longer 
the one from fro 
back. 

What should 
drawing of this 
be ? 

An ellipse. 

This is due to 
position with re 
to the circle. 




Fig. l. 



48 The Graded Drawing System . 

What is an ellipse ? 

An ellipse is &n oblong figure bounded by a 
regular curve, as Fig. 1. 

From the same distance compare the measures 
of this position of the circle placed upon a book 
on the table. Do you find them the same as 
before ? 

No; the width from front to back is narrower 
compared to the horizontal width. This is due to 
the raised position of the circle; thus we see that 
the nearer this view of the circle approaches the 
level of the eye the narrower it appears from front 
to back, until when it reaches the level of the eye 
it appears as a line. Remember this when repre¬ 
senting the different positions of circles. 

Draw an ellipse on practice paper to represent 
one of the positions of the circle which you have 
just measured. First make a horizontal diameter 
to represent the horizontal width of the circle, then 
make a vertical line, crossing this horizontal line, 
to represent the width of the circle from front to 
back. The place where these lines cross should 
be the centre of each line. Draw your ellipse, 
beginning at the lowest point, as you did the circle. 
Use the free arm movement, keeping the pencil 
pointed toward the left and your hand in the 
proper position for drawing circles. 


The Graded Drawing System. 


49 


LESSON XXII. 

Proportion. 

What is proportion ? 

Proportion is the result of the comparison of one 
object with another, or of different parts of the 
same object, with regard to size. 

In the drawing of a house, if the windows are 
larger than the doors and the chimney larger than 
the windows, each window, each door and the 
chimney may be drawn correctly in itself, but the 
drawing as a whole would be incorrect as to pro¬ 
portions. 

Again, in a picture which contains a man, a 
house, and a tree, all the same distance from the 
observer, although the drawing of each is correct 
in itself, if the man is larger than the house it 
would not be a picture having correct proportions. 

Thus we see the value of the relative propor¬ 
tions of objects or parts of the same object. Find 
the proportions of some objects near you by com¬ 
paring the measures of their length and width 
found by measuring at arm’s length, as a door, a 
table, chair, etc. 

The appearance of the size of an object is gov¬ 
erned by its distance from the observer. All ob¬ 
jects seem to become smaller and dimmer as they 


50 The Graded Drawing System. 

recede from you. In representing two trees of the 
same size, one near you and one far from you, the 
drawing of the one near you should be larger than 
the other according to the distance between them. 
This distance is represented in a drawing by the 
space between the bases of the objects, and their 
distance from the observer by the space between 
the base of the object and the lower edge of the 
paper, as well as the size and shade, as in Fig. 2. 

In representing a man going from you, suppose 
you should make a drawing of him when he is 
ready to start, another when he is a short distance 
from you, and so on until he is almost beyond 


Fig. 1. 

your sight, the last drawing would represent him 
as appearing very small. The same thing is true 
of trains, street cars, balloons, kites, birds and all 
objects going from us. 

So we find that objects appear smaller and dim- 








The Graded Drawing System. 51 

mer as they recede from the observer. Draw 
squares to represent this. 

Should these squares all be in a horizontal row 
on your paper ? 



back farther on the paper as in Fig. 1. 

Why should they be put back farther on the 
paper ? 

Also, Fig. 2 shows the same tree at different 
distances from the observer. Some of the very 










52 


The Graded Drawing System. 

small limbs cannot be seen in the farther tree. 
Notice particularly the relative position of their 
bases. 


LESSON XXIII. 

Light and Shade. 

In order to produce a good picture of anything 
a careful study of light and shade is necessary. 

On the objects themselves we call the dark 
parts shades; in a picture or drawing they are 
called shading. 

What is shading ? 

Shading is that which represents the effect of 
light and shade in a picture or drawing, or it is 
the filling up of an outline. 



Fig. l. 


Make a group of short vertical lines, another 
of short horizontal lines and another of short 
oblique lines, as in Fig. 1. 



























The Graded Drawing System . 


53 


The lines in each group should be of uniform 
width, of the same shade and as nearly the same 
distance apart as possible. 

Draw a square and shade it as in Fig. 1. Also 
make a group of curved lines, as in Fig. 2, having 



these lines of uniform width, of the same shade 
and as nearly the same distance apart as possible. 

Lines for shading should generally take the 
same direction as one part of the outline of the 
drawing to be shaded. 


LESSON XXIV. 

A Study of the Light and Shade of the Cube. 

To make the effect of light and shade strong, 
light must come from one direction only. Where 



















54 The Graded Drawing System. 

it is possible, have the light come from the left, 
above, and a little back of your position, for 
convenience. 

SOME POINTS TO BE CONSIDERED IN SHADING. 

First.—Direction of the light. 

Second.—The darkest side. 

Third.—The high light. 

Fourth.—The influence of the different reflections 
upon the shades of the objects. 

Fifth.—The shadow which the object casts. 

Sixth.—The fore-shortening of the shadows. 

Seventh.—Study lights and shades with one eye 
closed. 

Eighth—Shade by using the simplest lines 
possible, following the outline of the object where 
you can. 

Sometimes you 'can omit the outline altogether 
on the dark side of the object and use the shading 
so as to make the entire outline; do this whenever 
it is possible. Make your outlines dependent upon, 
or secondary to, the effect of light and shade. In 
representing the light side of an object use very 
light outlines and where the light side of one 
object comes against the dark side of another, 
omit the outline altogether. 

Place the cube on your table as in Lesson XVII. 
Determine its size and draw the outline, then study 


The Graded Drawing System . 


55 


the light and shade. First notice the direction of the 
light, then look for the darkest side; shade this side 
as in Fig. 1. Next notice the side toward the light; 
is there one spot on this side lighter than the rest ? 
The lightest spot on any object is that which is 
nearest the light and is called the high light . Remem¬ 
ber to use very light outlines to represent the light 
side of an object. We will now turn to the side of 
the cube which is of medium shade, this should be 
shaded with lines which are lighter and farther apart 
than those representing the shade of the darkest side. 

Only horizontal lines should be used in showing 
the shad¬ 
ow which 
objects 
cast on 
the table 
and the 
shadow 
should 
be made 
darker 
than the 
shade 


ting the dark side of an object . Do not carry these 
shadows too far upward, as they are on a horizontal 
plane and consequently are fore-shortened. 
































56 The Graded Drawing System. 

Do vigorously what you do in light and shade, 
let your work in this direction be whole-hearted 
and healthy. Make your outlines strong and have 
no light and shade, or have strong light and shade 
and as little outline as possible. Do not in any 
case have strong, dark outlines and weak light 
and shade. 

From the study of the light and shade of the 
cube in the position represented in Fig. 1 the fol¬ 
lowing formula is suggested. 

FORMULA FOR SHADING. 

I. —Decide whether you will use strong light and 
shade or strong outlines . 

II. —If you decide upon strong light and shade 
notice carefully the relative degrees of darkness of 
the different parts of your object and shade accord¬ 
ingly. The degree pf shading is of great importance. 

III. —Compare the relative degree of darkness 
of the shade of the darkest side and the shadow 
which the object or objects cast and shade accord¬ 
ingly. Consider carefully the fore-shortening of 
the shadow which the object casts. In represent¬ 
ing this shadow use horizontal lines. 

IV. —The lines of the shading of an object 
should have the same direction as the outline of 
that part of the object to be shaded. Leaves and 
a few other objects are exceptions. 


The Graded Drawing System . 


57 


LESSON XXV. 

A Study of the Light and Shade 
of the Sphere. 

Place the sphere in a good light. Determine 
its size and draw the outline, then study the light 
and shade. By proper shading your drawing will 
appear rounded and full like a sphere, instead of 
a mere flat surface. 

First we notice that the sphere is not the same 
tone all over, then we generalize by saying that it 
is darker on the side away from the light. Now 
notice the side nearest the light, we see that one 
spot is lighter than the rest. This we call the 
high light. We further see that this spot where 
the high light appears is that nearest the light , and 
we notice that the daylight, coming from above us, 
throws its rays of light somewhere upon the upper 
part of the sphere. 

Turning again to the dark side, we find it sim¬ 
pler and more of one tone than the light side, but 
we notice that the darkest part of the sphere does 
not seem to be nearest the light, nor yet quite on 
the edge of the sphere away from the light, but 
between the two. It cannot always be noticed that 
the darkest part does not extend to the outer edge 
nor is it always easily seen that a reflected light, 


58 


The Graded Drawing System. 


from the table and from the ceiling, and perhaps 
a light partly thrown from the window if it be 
high, prevents the darkest part, which we find 


between the light 
side and the edge 
of the sphere, from 
extending to the 
top and bottom of 
the sphere. It is, 
in other words, 
kept a little away 
from the edge of its 



Fig. 1. 


circular outline in all directions. 

In representing the sphere as in Fig. 1, care¬ 
fully follow the suggestions in “ Some Points to 
be Considered in Shading” and the “Formula for 
Shading.” 


LESSON XXVI. 

A Few Suggestions in Drawing. 

I.—Select some simple object with a dull sur¬ 
face. Choose large objects at first, then, after 
reaching a certain degree of competency, study 
smaller ones. Use only those objects which are 
good in form. 





The Graded Drawing System . 59 

II. —Place the object in a good light. 

III. —When measuring, drawing, and consider¬ 
ing the light and shade of an object yon should be 
about six or ten feet from the object, unless other¬ 
wise designated. This distance is mentioned for 
beginners to avoid the annoyance of the little 
details which suggest themselves in the drawing 
of objects when the observer is near the object to 
be drawn. First consider the large parts of an 
object, an easy thing to do when you are too far 
from the object to see the small details. After 
you can make a good drawing of an object at this 
distance yon may take a position about three or 
four feet from the object. The same formula may 
be used in drawing all positions of any object from 
any distance. 

IV. —Determine the size and proportions of your 
object and suggest these by blocking in, with light 
lines, the general outline. Then test the correct¬ 
ness of this sketch by finding the proportions of 
the object by measuring at arm’s length. If your 
sketch proves to be very incorrect as to propor¬ 
tions, etc., make a new blocking, otherwise correct 
the one first made. Do not block laboriously. 

V. —Fill in and round out the blocking until it 
is a good representation of the object to be drawn. 
Carefully represent all parallel edges of the object 
by parallel lines in the drawing and have a correct 


60 The Graded Drawing System. 

relative position in the drawing for all points in 
the object. 

VI. —Do not use an eraser until your drawing 
is finished, then strengthen the lines which are 
correct and erase the incorrect ones. 

VII. —At first study and draw single objects 
without reference to the background or any sur¬ 
roundings. After you have learned to draw an 
object well you may then shade it, putting in only 
a few of the simplest shades and the shadow which 
the object casts. Avoid shading your drawings 
too much and with too many lines. 

VIII. —Draw, criticise your drawing, then draw 
again the same object in the same position, and 
notice the improvement in your last drawing. 

IX. —In drawing any hollow object, as a cup, 
bowl, tumbler, etc., especial attention must be 
given to the suggestion of thickness at the top 
and the appearance of rounded hollowness. This 
can be shown by the careful drawing of the ellip¬ 
tical outlines of the top and sometimes by a touch 
of shade on the inner surface. Where is this 
appearance of thickness most noticeable, at the 
ends of the long or the short diameter of the 
ellipse ? 

X. —Study the light and shade of your object 
following the instructions given in Lesson XXIII. 
Shade according to the “Formula for Shading.” 


The Graded Drawing System . 


61 


LESSON XXVII. 

Branches of Leaves. 


In drawing a branch, of leaves indicate with 
light lines the proportions and slant of the main 
stem to which the leaves are attached. Locate the 



tip and one for the place where they join the main 
stem. Notice particularly the fore-shortening , pro¬ 
portions, and relative position and proportions of all 








62 The Graded Drawing System . 

of the leaves. Also their distance from the main 
stem. Remember an uneven number of any 
object is generally the rule. 


LESSON XXVIII. 

Study of the Plane Triangle. 

What is a plane triangle ? 

A plane triangle is a portion of a plane bounded 
by three straight lines and having three angles. 

Compare the square and triangle as you did 
the square and circle, following the “ Order of 
Study.” 

After making this comparison study the triangle 
as follows: Hold the triangle in front of you at 
arm’s length, on a level with your eye, with one 
face toward you; what do you see ? 

A flat surface bounded by three lines and having 
three angles. 

What would a drawing of this view be ? 

A triangle. 

Hold the triangle in front of you at arm’s length, 
on a level with your eye, with one side vertically 
toward you ; what do you see? 

An edge. 

What would the drawing of this view be ? 



The Graded Drawing System . 63 

A straight vertical line. 

Draw these two views of the plane triangle. 

A right-angled triangle is a triangle having a 
right angle. 

A scalene triangle has no two sides equal. Draw 
three different ones. 

An isosceles triangle has two of its sides equal. 

An equilateral triangle has its three sides equal. 

Practice drawing the face of these different kinds 
of triangles. 

In drawing the face of a triangle make the 
bottom line first. 

LESSON XXIX. 

The: Cylinder. 

Notice that the ends of a cylinder are equal, 
parallel circles, and the lateral surface is uni¬ 
formly curved. 

The circular ends of a cylinder are called its 
bases. 

Hold the cylinder in front of you at arm’s 
length, on a level with your eye, with one base 
toward you; what do yow. see ? 

A circle. 

What would the drawing of this view be ? 

A circle. 



64 


The Graded Drawing System . 


Would the drawing of the other base be the 
same if viewed from the same relative position ? 


Yes; it would also be a circle. 


Hold the cylinder vertically in front of you at 
arm’s length, on a level with your eye, with one side 


arm’s 


toward you; what do 
see? 




A uniformly curved 
surface. 


Place the cylinder 
vertically below the 
level of your eye. 
Compare the meas¬ 
ures of the top of the 
cylinder as you did 
the circle in Lesson 
XXI. 

Should you raise 
the cylinder in this 
position would the 
appearance of the 
top be changed? 

Yes; it would ap¬ 
pear fore-shortened. 




So we notice that 
as the lateral surface 


of a cylinder approaches the level of the obersver’s 
eye the top seems less like a circle. 







65 


The Graded Drawing System . 

Place the cylinder vertically below the level 
of the eye, find the proportions and draw the 
outline as in Fig. 1. 

Notice that the drawing for the top should be 
an ellipse, and the bottom of the cylinder, being 
parallel with the top, should be represented by a 
line parallel with the front edge of the ellipse 
for the top. 

In drawing the vertical lines for the sides allow 
the pencil to trace the lines for the top and bottom 
of the cylinder a short distance. 

First draw the ellipse for the top of the cylinder, 
next the line for the bottom, then those for the 
sides. Shade the darkest side and also make the 
shadow which the object casts. 


LESSON XXX. 

Perspective. 

Any set of parallel objects to be represented in 
a drawing by parallel lines which may be in sight 
from the observer’s position seem to converge 
toward a point that is exactly in front of his eye, 
when he looks in the direction he knows to be that 
in which the set of objects extends. 

Use the railroad again as an illustration. Sup¬ 
pose there are several parallel tracks in sight, and 





66 


The Graded Drawing System . 


you fix your station point in front of one of the 
tracks; }^our center of vision or vanishing point 
will be on the horizon line opposite your eye. The 
tracks which are at one side of you, being parallel 
with the one directly in front of you, will vanish 


Center of vision 
or vanishing point. 



Station point. 

Fig. 1. 


at the same point with the one in front of you. 
Fig. 1. Lines to represent the parallel edges of a 
box, those for the sides of a house, or any similar 
object where these edges extend from you con¬ 
verge in the same manner. 

















The Graded Drawing System . 


67 


LESSON XXXI. 

A Drill Exercise—Fig. 1. 

First draw the horizontal line. The diameter 
of the circle which touches this line should be 



about one-half as long as the horizontal line just 
drawn. 


LESSON XXXII. 

A Book and a Sphere—Fig. 1. 

Place a book, with the sphere resting upon it, 
on your table in a good light. 

Find the proportions and draw, with light lines, 
the outline of the book without reference to the 
sphere. Then determine the position of the sphere 




68 The Graded Drawing System. 

with regard to its distance from each visible edge 
of the book. Compare the size of the book and 
sphere and draw the outline of the sphere accord¬ 
ingly. Notice particularly the fore-shortening of 



where the sphere rests. 

Erase the lines representing that part of the 
book which the sphere hides from view. 


LESSON XXXIII. 

Perspective. 

Place a book on your table in such a position 
that you can see only one side and the top. 

Draw the side of the book which is toward you. 
Notice that the horizontal edges of the book are 





The Graded Drawing System . 60 

represented by Horizontal lines in tbe drawing and 
the vertical edges by vertical lines. Compare, by 
measurement at arm’s length, the back horizontal 
edge of the top of the book with the front horizontal 
edge. Remember the result of this comparison until 
you find the width of the book from front to back 
compared to the horizontal width, then make the 
horizontal line for the back edge of the top of the 



book of such a length and in a such a position as 
to satisfy both comparisons. Draw lines from the 
front to the back edge. Notice that these lines 
converge and would come to a point if long 
enough. Extend them until they meet; this then 
is their vanishing point, and a horizontal line 
drawn through the vanishing point would be the 





70 The Graded Drawing System . 

horizon line as in Fig. 1. Would the lower edges 
of the book vanish at the same point ? 

Yes; all lines parallel with the top line would 
vanish at this point. 

So we see that parallel lines and lines belonging 
to the same set of parallel lines vanish at the 
same point. 


LESSON XXXIV. 

The Rectangular Solid. 

Place the rectangular solid in a good light, deter¬ 
mine its size and proportions and draw the outline, 
following the instructions given for drawing a 
cube. Then shade. 


Notice when representing the solid with one 
corner toward you that your position with regard 



Fig. 1. Fig. 2. 


to the solid determines the slant of the lines for 
the sides going from you. In Fig. 1 the distance 
from A to B is the same as the distance from A to 
C. E is about two-thirds as far above C as D is 
above B . 










The Graded Drawing System . 71 

Now notice Fig. 2. The distance between A and 
C is almost twice the distance between A and B , 
and E is about one-third as far above C as D is 
above B . This difference in the relative position of 
these points makes a difference in the slant of the 
lines for the sides of the solid. Notice particularly 
that the slant of these lines depends upon your 
position with regard to the object to be drawn. 

In representing the solid in different positions 
should you change your position or that of the 
solid ? 

Either would have the same effect. 

If after drawing the object in the position 
indicated by Fig. 1, you move to the left a short 
distance, allowing the solid to remain in the same 
position as before, the distance from A to C will 
be greater than from A to B and the lower right 
corner will be farther from you. 

In case you move the solid so that the lower 
back left corner approaches nearer you the lower 
back right corner will naturally go farther from 
you, and this will make the distance from A to C 
greater than from A to B. Thus the effect will 
be the same as when you move to the left. 

Test this theory by placing different solids in 
different positions and drawing them in these posi¬ 
tions. This applies to cubes, squares, plinths and 
similar objects. 


72 


The Graded Drawing System . 


LESSON XXXV. 

A Book, Box, or Some Similar Object. 

Place some object similar to a book, box, etc., in 
a good light, determine the size and proportions 
and draw, with light lines, the outline. Complete 
your drawing and from another position draw the 
same object in the same position. Notice the 
difference in the drawings of these views. 

Leaving the object always the same, change 
your position and draw still another view. Draw 
several different views thus. 

So we see that changing our position with regard 
to the object to be drawn changes the drawings of 
this object. 

Consider carefully the proportions and fore¬ 
shortening in each view. 


LESSON XXXVI. 

A Cup. 

This is similar to what object ? 

Place a cup in a good light with the handle to 
the right as in Fig. 1. 

Find the proportions and draw the outline as 
you did the cylinder. 



The Graded Drawing System . 73 

Notice particularly the position and proportions 
of the handle and the space between the cnp and 
the part of the handle farthest from the cup com¬ 
pared with its height. In your drawing represent 
the handle by two lines. 

After drawing this position of the cnp turn it so 
that the handle is farther from yon and compare 



the space between the cup and handle with its 
height. Also turn the cnp so that the handle is 
nearer yon than in the first position and compare 
the space between the cup and handle with its 
height. 

Thus we see that this space is governed by the 
relative position of the observer. 





74 


The Graded Drawing System . 


LESSON XXXVII. 

A Study of the Cone. 

Compare the cone and cylinder as you did the 
circle and square in Lesson V., following the 
“Order of Study.” 

A cone is a solid body tapering regularly to a 
point from a circular base. 

Hold the cone in front of yon at arm’s length, 
on a level with your eye, with the circular base 
toward you; what do you see ? 

A circle. 

What is opposite this circular base of the cone ? 

The point of the cone. 

Hold the cone vertically in front of you ut 
arm’s length on a level with your eye; what do 
you see? 

A conical surface. 

Place the cone vertically on your table. Find 
the proportions of the cone by comparing the 
measures at arm’s length, then draw it in this 
position. The drawing for the bottom of this 
view would be one side of an ellipse. Draw the 
whole ellipse for the base, then above the center 
of this ellipse put a point to represent the point 
of the cone. Notice particularly the proportions. 
Draw lines from the point last made to the ends 


The Graded Drawing System . 75 

of the ellipse allowing the pencil to trace the front 
line of the ellipse a short distance. 

Erase the back line of the ellipse, as the part 
of the cone which this represents cannot be seen 
from your position. 

“ Draw what you see and not what yon know to 
be there.” 


LESSON XXXVIII. 

A Study of the Equilateral Triangular 
Prism. 

Compare the triangular prism and cylinder as 
you did the square and circle in Lesson V., follow¬ 
ing the “ Order of Study.” 

Also review briefly the study of the plane tri¬ 
angle. 

What is a prism ? 

A prism is a solid whose bases or ends are simi¬ 
lar equal and parallel plane figures, and whose sides 
are parallelograms. 

Hold the triangular prism in front of you at 
arm’s length on a level with your eye with one tri¬ 
angular base toward you; what do you see ? 

A triangular figure. 

What would the drawing of this view be ? 

A triangle. 



76 


The Graded Drawing System . 


Hold the triangular prism in front of you at 
arm’s length on a level with your eye with one side 
toward you; what do you see ? 

A rectangular surface. 

What would the drawing of this view be ? 

A rectangle having the proportions of this sur¬ 
face of the prism. 

Place the triangular prism on your table resting 
upon one triangular face, and look down upon the 
top; what do you see? 

A triangle. 

Raise the prism slowly and notice the effect on 
the appearance of this triangle. What change do 
you see? 

The triangle appears to grow narrower from 
front to back. This is due to fore-shortening. 

What effect would raising the prism until the 
top of the sides is on a level with your eye have on 
this triangle? 

When the top of the sides reaches a level with 
the eye the triangle would appear as a straight 
line. 

Test this by actual experiment. 

How many triangular surfaces has a triangular 
prism ? 

Two. 

How many rectangular surfaces? 

Three. 


The Graded Drawing System . 


77 


How many edges ? 

Nine. 

How many corners ? 

Six. 

HOW TO DRAW A TRIANGULAR PRISM. 

Draw a horizontal line on yonr table with school 
crayon. Place the triangular prism vertically upon 
your table, resting on one triangular base with one 
edge toward you and the lower front corner touch- 




Fig. 1. 


ing this horizontal line as in Fig. 1. Make points on 
the horizontal line opposite the lower back corners. 

Draw the prism in this position. Remember 
that you should be about six or ten feet from the 
object to be drawn. 







78 The Graded Drawing System. 

First draw a horizontal line on your paper to 
represent the one on your table, then make a point 
on this line to indicate where the prism touches 
the line on the table. Draw a vertical line to this 
point to represent the edge of the prism nearest 
you. 

Find the lower right and left corners of the 
prism as you did the cube in Lesson XVII., and draw 
lines to represent the lower edges of the prism 
accordingly. Draw lines to represent the right 
and left top edges of the prism parallel with the 
lower lines converging some. Draw the right and 
left vertical edges of the prism, then connect the 
tops of these edges, and you will have completed a 
drawing of one position of the triangular prism. 

Also draw a view of the triangular prism .show¬ 
ing one triangular end and one side. Draw a hori¬ 
zontal line on your table, then place the prism so 
that one corner touches this line, as in Fig. 2. 

Make points on this horizontal line opposite the 
lower back corners of the prism. 

Now draw a horizontal line on your paper and 
make the points on this line to correspond with the 
place where the lower front corner touches this line 
and those opposite the lower back corners. Notice 
particularly the relative proportions of the space 
between these points. Find how far back the 
lower back corners of the prism should be com- 


The Graded Drawing System . 79 

pared to the distance between the point where the 
corner of the prism touches the horizontal line and 
the point on the horizontal line opposite the lower 
back corner of the triangular face. Draw the bot¬ 
tom lines of the prism by connecting the point on 
the horizontal line to represent the place where 
the prism touches the horizontal line on the table 
with the points last found. 

Make a point on the horizontal line half way 
between the point where the lower front corner 



back corner of the triangular face. Letter this 
point A, as in Fig. 2. Also make a point as 
far above the point last found as it should be to 
represent the top of the triangular face. Draw 
lines from this point to the lower front and back 
corners of the triangular face. Draw a line repre¬ 
senting the top of the side of the prism from the 



80 


The Graded Drawing System . 


top of the triangular face, parallel with the lower 
line of the side of the prism, converging some, 
then connect these two lines with a line parallel 
with the line representing the right side of the 
triangular face of the prism. 


LESSON XXXIX. 

Perspective. 

When looking at a house with one corner toward 
you, you see two of its sides. 

From this corner suppose that one side of the 
house extends toward the north and the other 
toward the east. Should you draw this view of 
the house the lines representing the top and bottom 
of each side must converge because they are par¬ 
allel lines extending from you toward the horizon 
line. If the sides of the house extended far 
enough each set of lines in the drawing would 
reach its vanishing point. 

Thus we conclude that such a drawing should 
have two vanishing points, because there are two 
distinct sets of parallel lines extending from the 
observer toward the horizon line. 

To illustrate this place a cube on your table at 
an angle of 45° or in a similar position to that 




The Graded Drawing System . 81 

in figure I, and draw it. Now extend all of the 
parallel lines going from you on the right side 
I of the cube until they meet at a common point, 
also extend the ones on the left until they meet 
at a common point. Draw a horizontal line 
through these points—this represents the horizon 



Fig l. 


these different vanishing points will be on the 
horizon line as in Fig. 1. 

Study, in this manner, several objects similar 
to a cube. 

Notice that all vertical edges in an object are 
represented by vertical lines in the drawing, and 
all horizontal edges by horizontal lines or lines 
parallel with the horizontal edges of the picture 
plane. But all parallel lines going from you or 
that make an angle with the picture plane would 
vanish at some point on the picture plane, pro¬ 
viding that picture plane is large enough. 





82 


The Graded Drawing System . 


LESSON XL. 

The Cube. 

Place a cube, or some similar object, on your 
table with one corner toward you. 

From a distance of three or four feet draw a line 
to represent the nearest vertical edge, then notice 
the relative position of the lower back corners of 
the cube compared to the height of this vertical 
edge. Remember the result of this comparison 
until you have found the distance of these corners 
from this edge compared with its height. This 
determines the slant of the lower lines. Complete 
the drawing of the cube as in Lesson XVII. 

Draw several objects which are similar to a 
cube, as books, boxes, etc., in this way. 

By this plan you can draw such objects without 
the use of the horizontal line as in Lesson XVII., 
which is only necessary to determine the slant 
of the lower lines of the cube, proportion, etc., 
as all measurements must be found by comparing 
horizontal or vertical distances. 


The Graded Drawing System . 


83 


LESSON XLI. 

Perspective. 

Through what do we see a picture in nature ? 

Through an imaginary vertical plane called the 
picture plane. 

What is the picture plane ? 

This must be illustrated. Suppose you were to 
draw what you see through a window-pane. This 
window pane bounds your view and is also the 
plane through which you see the picture. It 
would, therefore, be the picture plane of this view. 

Again place a cube on your table and fix a piece 
of glass vertically in front of it. This glass is the 
plane through which you see the cube—thus it is 
the picture plane. 

What represents this picture plane in a drawing? 

That upon which the drawing is made. For 
example: From a position at arm’s length from 
the glass draw the cube on the glass with a piece 
of soap, thus it would be the picture plane in the 
drawing, or if you make your drawing upon paper 
the paper would be your picture plane in your 
drawing. 

Place a piece of glass in front of any object and 
draw upon the glass that view which you see 
through it, from a distance at arm’s length; also 


84 The Graded Drawing System . 

draw the same view upon a piece of paper. You 
will soon learn that the paper and the picture 
plane mean the same. 

For convenience, in drawing, the paper is placed 
in a horizontal position, but in making a perspec¬ 
tive drawing no matter how we place our canvas 
or paper, even though we should have our drawing- 
board, for instance, flat upon a table, we represent 
views of objects so that our drawing may be hung 
vertically and we seem to see, through a frame, a 
picture, just as we would see a view through a 
window. 

The picture plane may be at arm’s length in 
front of you or it may be at greater distance from 
you; that is optional with the observer, the view 
you take decides the distance of the picture plane 
from you. 

LEAVES WITH IRREGULAR EDGES. 

In drawing leaves with irregular edges find the 
relative position of all of the points and indented 
parts as well as the proportion, etc. Notice partic¬ 
ularly the fore-shortening. 


The Graded Drawing System . 


85 


LESSON XLII. 

Grouping. 

Grouping or composition depends upon three 
things—selection, arrangement and treatment. 

Selection. —Use only those objects which are 
good in form. Neither too many straight angular 
objects nor round or curved ones give a pleasing 
effect in a group. For variety combine straight 
and curved forms in pleasing proportion. Also use 
objects of different proportions. 

Arrangement. —The separate objects in group¬ 
ing must be so arranged as to convey the effect of 
unity. Everything should be in a fixed place, 
perform an intended duty and act, in that part, 
advantageously for everything connected with it. 
A group must appeal to a sense of unity of several 
objects producing one whole. In order to produce 
this feeling of unity, it is necessary that one object 
be principal and all the other objects subordinate 
to it. Ruskin calls this the “Law of Principality.” 

Treatment. —Unity must also be considered in 
the treatment of a group. The good, beautiful and 
strong points in the principal object must be fully 
brought out; and, while the subordinate objects 
should be as carefully drawn, the treatment of 
light and shade may be less vigorous than in that 





86 The Graded Drawing System . 

of the principal one. When sketching the outlines 
of a group of objects, careful attention must be 
given to the drawing of the base of each object. 
Two objects must not occupy the same space on the 
table, or appear to do so. 

Do not read too much about composition; there 
seems to be no fixed rules by which objects may 
be grouped. Almost every law of conventional 
arrangement has been broken time and again with 
most effective results. To feel composition rather 
than to know it is the truest and safest plan. 
Select a drawing of a correct grouping of objects 
and study the arrangement carefully, and thus 
imbibe a feeling for correct grouping. 

The following are a few recognized rules of com¬ 
position : 

Usually the object of interest, whether figure 
or inanimate, should not be put exactly in the 
middle of your picture either as regards the 
distance right and left or up and down on the 
paper. 

In arranging two important objects do not put 
one in a direct line with the other. An object 
which extends above the horizon line should not 
be placed directly above an object in the fore¬ 
ground which is not as high as the horizon. 

Do not put an important object in the corner of 
your drawing. 


The Graded Drawing System . 87 

FORMULA FOR DRAWING GROUPS OF OBJECTS. 

I. —Select your objects according to the instruc¬ 
tions given for grouping. 

II. —Arrange your objects properly. 

III. —You should be about six or ten feet from 
your group when measuring and drawing. 

IV. —Find the proportions of the entire group; 
that is, the horizontal width compared to the ver¬ 
tical width of the space which the group occupies, 
and indicate these proportions on your paper with 
very light lines. 

V. —Find the position and proportions of the 
most important object in your group and indicate, 
by light lines, its general outline. 

VI. —Block in the other objects after comparing 
their relative size and position with that of the 
main object of the group; notice particularly the 
relative position of the base of each object. Re¬ 
member that the position of an object in a group is 
indicated in a drawing by the distance between 
the base of that object and the lower edge of the 
drawing of the group. 

VII. —One important point in a drawing is pro¬ 
portion; another is fore-shortening; another is the 
edges to be represented by the different lines, and 
still another is the convergence of parallel lines. 


88 


The Graded Drawing System . 


LESSON XLIII. 

Two Books—Fig. 1. 

Place two books on your table in a similar 
position to those in Fig. 1. 

First draw the outline of the lower book, then 
find the position and proportions of the upper one 
compared to the lower one. 

Special attention should be given to the distance 
from each visible edge of the top surface of the 



lower book to the edge of the lower surface of the 
top book, as this distance determines their relative 
positions. 

Where the top book extends beyond the edge of 
the lower one it should be so represented in the 
drawing. 

Any number of books may be thus represented 
in a drawing. 



THE GRADED*'^*'*' 
DRAWING SYSTEM 


FIRST BOOK 
FART II. 


LESSONS FOR THE SCHOOL 


TO BE GIVEN BY 


THE TEACHER. 


CHICAGO : 

A. FLANAGAN, Publisher. 








Copyright, 1897, 


BY 


Francis Westfall. 



Part II. 


CONTENTS. 

WESSON. PAGE. 

General Instructions to the Teacher. 3 

I. Lines . 7 

II. • The Square. 7 

III. Drill Exercise. 7 

IV. Comparison of the Square and Circle. 7 

V. Circles and Semi-circles. 7 

VI. Division of Paper. Measuring. 7 

VII. Comparison of Sizes of Objects. 8 

VIII. Angles. Foreshortening and Blocking. 8 

IX. Review. 9 

X. Drill. Lines. 9 

XI. Different Views of a Circle. Study of the 

Cube.10 

XII. Comparison of the Cube and Sphere.10 

XIII. Pattern Square. Four Views of the Sphere, 11 

XIV. Paper Cutting and Folding. Comparison of 

the Measures of objects.11 

XV. Clay Modeling.13 

XVI. The Cube.13 

XVII. Bordering.13 

XVIII. Sphere. Cube...15 

XIX. Review.15 

XX. Blocking.15 

XXI. Perspective.16 

XXII. Ovoid and Ellipsoid. Lesson XIX, Part I.. 17 

XXIII. Lesson XX. Parti .17 

XXIV. Dictation by the Teacher.17 

i 

























LESSON. PAGE. 

XXV. Drills. The Pattern Cube. 17 

XXVI. Ellipse.18 

XXVII. Proportion.19 

XXVIII. Leaves.20 

XXIX. The Triangle.20 

XXX. Review.21 

XXXI. Cylinder. Lesson XXIX, Part 1.22 

XXXII. Perspective.22 

XXXIII. Selected.22 

XXXIV. Cube. Box.23 

XXXV. Drill and book. Book and Sphere.24 

XXXVI. Review.24 

XXXVII. Perspective.24 

XXXVIII. Rectangle. Rectangular Solid.25 

XXXIX. Modification of Units.25 

XL. Arrangements about a Center.26 

XLI. Circles Around Diameters. The Cup... 26 

XLII. The Rosette.27 

XLIII. Comparison of the Cylinder and Cone, etc. 

The Cone. 28 

XLIV. Equi-lateral Triangular Prism..28 

XLV. A Drill Leading to the Drawing of Vases, 

etc. 30 

XL VI. Perspective.30 

XLVII. The Cube.31 

XLVIII. Perspective.31 

XLIX. Cube and Basket.31 

L- Groups of Objects.32 

LI. Foreshortening. A Slate.33 

LII. Ornament from a Copy.35 

LIII. Groups of Objects.34 

Busy Work.37 

ii 































THE GRADED DRAWING SYSTEM. 


General Instructions to the Teacher. 


These lessons are so arranged that all grades may 
make the proper progress. They are to be given to the 
school by the teacher, who should simplify them still fur¬ 
ther if necessary for the advancement of the pupils. By 
carefully studying Part I, this may be successfully done 
and much accomplished in one year. 

Notice in each lesson the work for the different years 
is designated. 

Where lessons in Part I are to be used, you should 
give them just as they are to the pupils, unless you find 
some change necessary. 

Bring out plainly the purpose of each lesson. 

Do not allow the pupils to hurry in their work. 
Encourage them to ask all reasonable questions. 

Each one should draw and measure the object on the 
desk of the pupil in front of him, as the one on his own 
desk is too near. This may be done by one sitting to the 
right and the pupil behind him to the left side of his desk 
and so on through the whole school. 

Have the pupils make their drawings large. Notice 
particularly their position in all respects. 

Each step should be carefully gone over a number of 
times so the pupils may thoroughly understand the work. 

iii 




Any additional work which you think will be helpful 
do not hesitate to give it. Bach teacher knows the needs 
of his own school best and the knowledge you should 
gain in Part I should prepare you for any additional 
demands. 

Materials: 

Drawing book or paper. 

Drill paper. 

Blocks belonging to this drawing system. 

Colored pencils. 

Colored paper. 

Baying sticks belonging to this drawing system. 

Bead pencil. 

One lesson on each kind of. objects has been given in 
this work; you should be able to enlarge upon each sug¬ 
gestion; for instance, one lesson in bordering may only 
suggest a number of other arrangements, etc., also an 
object modeled from clay is only the first step toward 
general work in clay. 

When giving lessons from Part I to the pupils you 
should carefully explain the work, then ask them the 
questions found in those lessons. The answers are given 
to aid you in case of doubt. 

If you have no Tenth Year, you should give the work 
for years from Fifth to Tenth to all years above and 
including Fifth. 

Read these instructions every day before giving a 
lesson to the school. 

In giving lessons to years from Fifth to Tenth, 
always refer to the position of the object with regard to 
the eye, whether or not it is above or below the level of 
the eye. 

Aim at freedom, originality and life in your work. 


Part II is exclusively devoted to work which you 
are to give to the pupils, carefully explaining each step 
on the board. These lessons are made to aid you in 
judging the amount of work that should be given to the 
different grades in the school. Each lesson is divided 
into parts which you are to give to the different years 
and where it refers you to lessons in Part I give the les¬ 
sons referred to as they are found in Part I unless the 
needs of the pupils make it necessary for you to alter 
them. In lessons where there are drawings, as in Les¬ 
sons 13 and 14, Part II, for example, put these drawings 
on the board for the school to follow. Each lesson does 
not state definitely just what the teacher is to do, but 
gives the work that the different years in the school are 
to do; the teacher is expected to teach these lessons to 
the school; for instance, in Lesson I, you should give 
years from first to fifth a simple lesson on lines which you 
have made out by the study of Lesson I, Part I, while 
first to fifth years are drawing lines, give Lesson I, Part 
I, to fifth to tenth years as you find it in Part I. 

Illustrate on the board each step in every lesson. 


\ 


v 




Lesson I. 

First to Fifth Years. 

A Simple Lesson on Vertical, Horizontal and Oblique 

Lines. 

Names of tlie different lines. 

Rules for drawing lines. 

Pencil holding, position and movement. 

Fifth to Tenth Years Inclusive. 

Lesson I. Part I. 

Lesson II. 

THE SQUARE. 

First to Fifth Years. 

Represent squares in two ways, by the use 
of laying sticks and by drawing. 

Fifth to Tenth Years Inclusive. 

Lesson II, Part I. 

Lesson III. 

First to Tenth Years. 

Dictation exercise by the teacher. 

Lesson IV. 

First to Tenth Years. 

The Circular Drill. Part I. 

Lesson V. 

First to Fifth Years. 

. Draw circles and semi-circles. 

Fifth to Tenth Years Inclusive. 

Lesson VI, Part I. The Circle. 


8 


The Graded Drawing System . 


Lesson VI. 

First to Fifth Years. 

Divide a piece of drill paper, about tbe size 
of a sheet of essay paper, into six equal parts 
by one horizontal and two vertical lines (having 
the paper resting on your desk with the longest 
part horizontally), then in each division draw a 
circle with one continuous sweep. Also divide 
a piece of drawing paper in the same manner. 

Fifth to Tenth Years Inclusive. 

Lesson VII. 

MEASURING. 

Draw the lines to be measured on the black¬ 
board in front of each row of desks so the pupils 
may all have a good view. 

First to Tenth Years Inclusive. 

Place several apples in a good light. Give 
one to one of the pupils and have him select 
another of as nearly the same size as possible. 

Give this exercise to the whole school to test 
their judgment of size. 

Have them draw some simple object. 

Lesson VIII. 

First to Fifth Years. 

Draw different angles on the board, have 
these years form them on their desks with lay¬ 
ing sticks and draw them on drill paper. Teach 


The Graded Drawing System . 


9 


them the names of the angles and tell them 
which part of the figures is called the angle . 

Fifth to Tenth Years Inclusive. 

Lessons VIII and IX, Part I. Foreshort¬ 
ening and Blocking. 

Lesson IX. 

First to Tenth Years Inclusive. 

REVIEW. 

If the pupils are not thorough in some 
points in any of the previous lessons, arrange 
this review to particularly bring out those parts. 

Lesson X. a 

First to Fifth Years. / \ 

Put Fig. 1 on the / \ 

board and have these I \ 

pupils practice this drill j \ 

while you give the / \ 

“Study of the Leaf” to j \ 

fifth to tenth years. / \ 

After which have J \ 

all years trace the edge / \ 

of and draw the leaf as / \ 

in Lesson X, Part LI I 

Fifth to Tenth Years In- \ J 

elusive. \ / 

Leaves. Lesson \. / 

X, Part I. ^ 


Fig. l. 




10 


The Graded Drawing System . 

Lesson XI. 

First to Fifth Years. 

Practice Drawing Circles on Driix Paper. 

After you have given the Study of the Cube , 
to Fifth to Tenth Years , give First to Fifth 
Years a simple study of the circle similar to 
Lesson VI, Part I, and have these pupils draw 
four views of a circle after you have drawn them 
on the board. 

Fifth to Tenth Years Inclusive. 

Lesson XI, Part I. Study of the cube. 
Draw a cube. 


Lesson XII. 

First to Fifth Years. 

Draw from the object as a model something 
similar to a circle, as palm leaf fan, etc. 

Also a simple lesson on the comparison of 
the cube and sphere. This should be made as 
simple as possible. 

Fifth to Tenth Years Inclusive. 

Lesson XII, Part I. Comparison of the 
cube and sphere. 


The Graded Drawing System.. 11 
Lesson XIII. 

First to Fifth Years. 

Given in Fig. 1, one side of a 
square. Draw a pattern square to cor¬ 
respond with this one side in size, 
transfer it to colored paper, cut and 
paste the colored one beside a square 
which you have just drawn on drawing 
paper. 

Draw the one side of a square on 
the board, and then give these pupils 
this lesson. 

Fifth to Tenth Years Inclusive. 


Lesson XIII, Part I. Draw four views of 
the sphere as Figs. 1, 2, 3, 4. 



1 t 2 .1 4 


Lesson XIV. 

First to Fifth Years. 

Draw a square on drill paper, cut it out and 
draw through the center a horizontal and ver¬ 
tical diameter. Make a smaller square of this 
by folding the paper twice, once along each dia¬ 
meter, then fold it diagonally, thus making 
Fig. 1. 



12 


The Graded Drawing System. 



Fig. 2. 


Cut the paper circularly across the corner 
“A. ,J Unfold it and the shape should be the 
same as Fig. 2. Transfer this to colored paper 













13 


The Graded Drawing System. 
and cut and paste on a piece of drawing paper. 

Fifth to Tenth Years Inclusive. 

Compare the measures of the horizontal and 
vertical widths of several objects. 

Draw a rectangle on the board and explain 
the relation between a square and rectangle; 
have pupils in these years measure and draw 
the same on drill paper. 

Lesson XV. 

First to Tenth Years Inclusive. 

Clay modeling. Lesson XV, Part I. 

Lesson XVI. 

First to Fifth Years. 

Place the cube on your desks with one face 
toward you and draw a square on drill paper to 
represent the face next to you. In this square 
draw a circle and color each with your colored 
pencils. 

Fifth to Tenth Years Inclusive. 

Lesson XVI, Part I. How to draw a cube 
below the eye with one face toward you. 

Draw both the facts and appearance of this 
view. 

Lesson XVII. 

First to Tenth Years Inclusive. 

Bordering. Lesson XIV, Part I. 


14 The Graded Drawing System. 

The following figures suggest some arrange¬ 
ments. 






























15 


The Graded Drawing System. 

Lesson XVIII. 

First to Fifth Years. 

Arrange a simple lesson on the sphere, 
similar to Lesson XIII, Part I, for these pupils; 
have them draw a sphere on drawing paper. 

Fifth to Tenth Years Inclusive. 

Lesson XVII, Part I. How to Draw a Cube 
Below the Eye With One Corner Toward You. 

Lesson XIX. 

First to Tenth Years Inclusive. 

REVIEW. 

Draw some of the objects which you have 
had in previous lessons and explain the princi¬ 
ple points to be learned thereby. 

Lesson XX. 

First to Fifth Years. 

Give these pupils a simple lesson in block¬ 
ing, then have them block and draw the objects 
similar to the following. 



Fig. 1. 




16 


The Graded Drawing System . 



Fifth to Tenth Years Inclusive. 

Block and complete drawing of two and 
one half apples. Have the fruit as a model. 

Notice particularly the foreshortening, pro¬ 
portions, etc. 



Lesson XXI. 

PERSPECTIVE. 

First to Fifth Years. 

A simple lesson in perspective. 

Fifth to Tenth Years Inclusive. 

Lesson XVIII, Part I. 








The Graded Draiving System. 17 
Lesson XXII. 

First to Tenth Years Inclusive. 

A simple lesson on the avoid and ellipsoid, 
also some object similar to each, as plums, etc.; 
draw these figures. 

Fifth to Tenth Years Inclusive. 

Lesson XIX, Part I. 

Lesson XXIII. 

First to Tenth Years Inclusive. 

Lesson XX, Part I. 

Lesson XXIV. 

First to Tenth Years Inclusive. 

Dictation by the Teacher. 

Give the pupils a suitable lesson that you 
have arranged, one that you think will benefit 
them most. This should be very instructive. 
It is a good plan sometimes to allow the school 
to suggest what it prefers to draw in these dicta¬ 
tion lessons. 


Lesson XXV. 

First to third Years. 

Put the following drills on the board, and 
have these pupils draw them on practice paper. 


18 


The Graded Drawing System . 



Draw the large square first in each figure. 

Third to Fifih Years. 

Give them a simple lesson on the study of 
the cube. 

Fifth to Tenth Years Inclusive. 

Lesson XX, Part I. The Pattern Cube. 
Lesson XXVI. 

First to Fifth Years. 

Remember the name ellipse. Make points 
as in Fig. 1, and draw an ellipse through them; 
also make diameters as in Fig. 2, and draw an 
ellipse around them. 




































The Graded Drawing System . 


19 


Fig. 1. Fig. 2. 

Fifth to Tenth Years Inclusive. 

Lesson XXI, Part I. The Circle as to 
Foreshortening. Draw an ellipse. 


Lesson XXVII. 

First to Fifth Years. 

Give the pupils in these years a simple 
lesson in proportion and explain as clearly as 
possible, by illustrations on the board, the mean¬ 
ing of proportion. Consider only those objects 
near by. 

Have years from first to third place their 
laying sticks on their desks in the form of differ¬ 
ent sized squares, then draw these squares on 
drill paper proportionately. 

Place two or three balls (or some similar 
objects) of different sizes on your desk and have 
years from third to fifth draw them proportion¬ 
ately on drill paper. 

Fifth to Tenth Years. 

Lesson XXII, Part I. Proportion. 




20 


The Graded Drawing System. 

Lesson XXVIII. 

First to Fifth Years. 

Give these pupils a short review on the 
principle points in drawing leaves; have them 
draw leaves in similar positions to the following. 

Fifth to Tenth Years Inclusive. 

Lesson XXVII, Part I. Also Draw 
Branches of Leaves. 



Lesson XXIX. 

First to Fifth Years. 

Explain, by illustrating on the board, the 
triangle. Have these pupils practice drawing 
triangles on drill paper after which allow them 
to make the following arrangements which you 
have put on the board. 



The Graded Drawing System. 


21 



Fifth to Tenth Years Inclusive. 

Lesson XVIII, Part I. The Triangle . 

Also draw a kite. Make the diameters of 
the proper proportions, then draw the kite. 

Lesson XXX. 

First to Tenth Years Inclusive. 

REVIEW. 

Give particular attention to those parts in 
the previous lessons which seemed difficult for 
the pupils. 






22 


The Graded Drawing System. 

Lesson XXXI. 

First to Fifth Years. 

Practice drawing ellipses on drill paper. A 
simple lesson on the cylinder. Draw cylinder. 

Fifth to Tenth Years Inclusive. 

Lesson XXIX, Part I. 


Lesson XXXII. 

First to Fifth Years. 

Give these pupils a simple lesson in perspec¬ 
tive as: put the drawing of a railroad on the 
board, and tell them that if they will stand in 
the center of a railroad and look in the direction 
that the tracks extend, they (the tracks) will 
appear to come together a long ways from 
them, etc. 

Fifth to Tenth Years Inclusive. 

Perspective. Lesson XXX, Part I. 


Lesson XXXIII. 

First to Tenth Years Inclusive. 

Arrange a lesson which you think will please 
the pupils and also be instructive. 


23 


The Graded Drawing System. 

Lesson XXXIV. 

First to Fifth Years. 

A Simple Lesson on the Cube With One Corner Toward 
the Observer. 

Place the cube on your desks in this posi¬ 
tion, then lay sticks to represent it. Draw as 
much as possible of this position of the cube. 

Do not measure; simply notice the slant of 
the lines, parallel edges, etc. 

Fifth to Tenth Years Inclusive. 

Draw a box with the lid closed, also one 
with the lid open as in Figs. 1 and 2. 



Fig. 2. 










24 


The Graded Drawing System. 

Lesson XXXV. 

First to Tenth Years Inclusive. 

Drill exercise. Lesson XXXI, Part I. 

First to Fifth Years. 

A simple lesson on a book in the position of 
the one in Lesson XXXII, Part I. Draw on 
drill paper. 

Fifth to Tenth Years Inclusive. 

A Book and Sphere. Lesson XXXII, 
Part I. 


Lesson XXXVI. 

First to Tenth Years Inclusive. 

REVIEW. 

Draw something similar to some object in 
any of the previous lessons. 


Lesson XXXVII. 

First to Fifth Years. 

A simple lesson in perspective. 

Fifth to Tenth Years Inclusive. 

Perspective. Lesson XXXIII, Part I. 


25 


The Graded Drawing System. 

Lesson XXXVIII. 

First to Fifth Years. 

Give these pupils a simple lesson on the 
rectangle, using the blackboard freely to illus¬ 
trate your meaning. 

Draw a rectangle on the board, then con¬ 
vert it into an envelope, and have them draw the 
same on drill paper. 

Fifth to Tenth Years. 

The Rectangular Solid. Lesson XXXIV, 
Part I. 

Lesson XXXIX. 

First to Tenth Years Inclusive. 

Modification of Units. 

Explain carefully the meaning of modifica¬ 
tion of a unit. Also show the pupils designs of 
carpet and wall paper or pictures of architecture 
if possible that have in them one form of modifi¬ 
cation of this unit to illustrate its use. 



1 2 3 4 5 


Fig. 1 is the unit; 2, 3, 4 and 5 are modifi¬ 
cations of this unit. Find other units and their 
modifications. 


26 


The Graded Drawing System . 


Lesson XL. 

First to Tenth Years Inclusive. 


Arrangements About a Center. 


Make these on drawing paper. Figs. 1 and 
2 are the centers and 3 is the leaf form to be 
used. Use either center the pupils like best. 
Illustrate this work on the board before the 
school attempts it. 


□ o o 



Lesson XLI. 

First to Fifth Years. 

Draw circles around diameters and cylinders 
on drill paper, using the solid as a model. 

Fifth to Tenth Years Inclusive. 

The Cup. Lesson XXXVI, Part I. 










27 


The Graded Drawing System . 
Lesson XLII. 

First to Tenth Years Inclusive. 

THE ROSETTE). 





Figs. 1 and 2 are good drills leading to 
drawing the rosette. Put these figures on the 
board. 


28 The Graded Drawing System. 

Lesson XLIII. 

First to Tenth Years Inclusive. 

Comparison of the cylinder and cone. 

First to Fifth Years. 

Drill on ellipses; draw a cone. 

Fifth to Tenth Years Inclusive. 

Lesson XXXVII, Part I. Study of the Cone. 
Lesson XLIV. 

First to Fifth Years.' 

Give these pupils a simple lesson on the 
triangular prism, also have them draw the fol¬ 
lowing arrangements which have been drawn 
on the board. 




The Graded Drawing System . 


29 




Triangular Prism. 






30 


The Graded Drawing System. 

Lesson XLV. 

First to Tenth Years Inclusive. 

A Drill Leading to the Drawing oe Vases, Etc. 
Explain the use of the vertical lines in these 
drawings. Have the pupils try to make both 
sides alike. 



After this drill draw from the objects jugs, 
vases, bottles, etc., in lessons following. 


Lesson XLVL 

First to Fifth Years. 

A simple lesson in perspective; also a brief 
review of the previous lessons in perspective. 
These lessons should be very simple. 

Fifth to Tenth Years Inclusive. 

Perspective. Lesson XXXIX, Part I. 








31 


The Graded Drawing System. 

Lesson XLVII. 

First to Tenth Years Inclusive. 

The Cube. Lesson XL, Part I. 

Lesson XLVIII. 

First to Fifth Years. 

A simple lesson in perspective. 

Fifth to Tenth Years Inclusive. 

Perspective. Lesson XLI, Part I. 

Lesson XLIX. 

First to Fifth Years. 

A simple lesson on the cube. 

Draw Figs. 1 and 2 using the objects as 


models. 



Two Books. Lesson XLII, Part I. 
Draw on drawing paper. 








The Graded Drawing System. 


Lesson L. 


First to Third Years. 




Third to Fifth Years. 


















33 


The Graded Drawing System. 


Fifth to Tenth Years Inclusive. 



Arrange these different groups of objects in 
a good light so that each pupil may draw the 
view that he sees. 

What geometrical figures do these objects 
resemble ? 

Lesson LI. 

First to Fifth Years. 

A simple lesson in foreshortening. Draw a 
book below your eye with one edge toward you. 

Fifth to Tenth Years Inclusive. 

Draw a slate below your eye with one edge 
toward you. Give particular attention to fore¬ 
shortening and proportions. 

















34 


The Graded Drawing System. 
Lesson LII. 

First to Tenth Years Inclusive. 
Ornament From a Copy. 



Have the pupils draw the vertical diameter 
and horizontal lines, then the outline. Find 
borders, where this figure is used in wall paper, 
etc. Put a drawing of these figures on the 
board. 

Lesson LIU. 

First to Third Years. 
















The Graded Drawing System . 


35 




1 2 3 


Fifth to Tenth Years. 






2 


















36 


The Graded Drawing System . 


Any vegetable or fruit may be used. Place 
tbe natural object in a good light, study the 
shape and proportion and suggest them by block¬ 
ing lines. Complete the drawing. One group 
should be arranged for each division of the 
school and pupils draw the view that each sees. 
What geometrical figure do these objects 
resemble ? 



The Graded Drawing System . 


37 


BUSY WORK. 


Any thing modeled from clay and colored 
with water colors is very interesting busy work, 
as vegetables, apples or any such fruit, etc., 
globe, rows of mountains may be modeled and 
colored, mountain systems, river systems, lake 
beds, prairies, with a few trees; in fact, almost 
any of the geographical forms. 

All sorts of pretty, instructive figures may 
be made from colored paper and pasted on white 
paper. These must, in most cases, represent flat 
objects. Any thing haying depth must be made 
after the manner of the pattern cube. 

Drawing from the obj ects and stick laying 
are always entertaining and instructive to chil¬ 
dren. Do not allow the pupils to work listlessly 
at any of this work if they attempt it. 

A lesson on the blackboard is good drill. 
When drawing on the board the pupil’s position 
should be at arm’s length from and directly 
facing the board. 






















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